Ellington at Newport

OMG this was long... I think I could've watched the whole movie Whiplash in this time (which I would've preferred)

Proof once again that live albums aren't great. If it wasn't for the sheer, unbelievable talent of the musicians, I'd have no interest in this whatsoever. I don't enjoy the audience noise. I don't enjoy the compere. I sure as toffee don't enjoy live albums generally. Sure, these musicians are insanely good. Would they be better in the studio, with a great producer? Absolutely yes.

I mean, shit, I don't think I've ever heard a solo on the level of the solo in "Dimineuendo And Crescendo In Blue". The energy here is unmatched, and you can tell the crowd was feeling it. Insane performance. Favorite tracks: "Dimineuendo And Crescendo In Blue", "Festival Junction"

This album is a great reminder that jazz was a living, breathing genre of music. It was born in an age when live music was king, long before a musical album was a concept. It’s music for improvising, music for dancing, and music for living in the moment. This is also one of those albums where the context greatly enhances the music: the fact that this revitalized his flagging career, and the amazing marathon saxophone solo

The music was great, but I could do without all the emcee banter.

Insert Johnny Hodges’ solo on I Got It Bad directly into my veins

I wrote an imaginary doctoral thesis on music production technology's influence on popular culture and this album was at the center of it. It's hard to translate the energy transmission that occurs at a great musical performance but a technical accident necessitated overdubbing a sax solo that had originally riled the audience to new heights and to drown out the sound of the original sax solo, the producer cranked up the audience track, making an excited audience sounds downright riotous. The show helped revive Duke's career among the cognoscenti at the show, but the album with the frenzied audience elevated his standing in the broader culture to new heights. I don't like big band music too much, but when I do it's either Duke Ellington or Count Basie, and this album gives you a little of both, in that I understand that Papa Joe Jones (drummer for Basie's best band but look him up; possibly the most influential drummer ever) was on the edge of the stage, beating time with a rolled up newspaper and I understand was one of the voices shouting encouragement and celebration. That's damn cool. For more information, I refer you to this delightful article I cited in my dissertation: https://www.csmonitor.com/1985/0923/upres.html

See!!! i can like jazz!!!

Exceptional. They certainly don't make music like this anymore. And I will overlook that some of the "live music" was recreated in the studio (including fake applause). Paul Gonsalves’ epic solo during Diminuendo and Crescendo in Blue simply has to be heard to be believed.

This album is phenomenal. I don’t know much about jazz but I like this.

By the time of the Duke's Newport appearance in 1956, big bands were in the process of being, or already were, passé. The pre-World War II relic of jazz sophistication gave way to shorter groups, with trios and quartets, quintets and maybe even sextets becoming de rigueur and Duke had next to no room to occupy space. Newport '56 was a reminder of who he was, why he commanded the respect justly given to him and how he remained integral to the status that jazz had obtained in the decades past and present. If he and his band were percieved as though they were on the downward slope, they don't sound like it, as they are as vibrant and radiant as they were in their heyday, with Diminuendo and Crescendo in Blue, Take the "A" Train and Skin Deep riding the ship on towards land and into cheering arms. A magnificent document of a triumphant comeback, may we love him madly.

Really nice Jazz album by a master. Born in 1899 he was active on the music scene for much of the early American Swing and Jazz era. There are not many music lovers that have never heard of Duke Ellington. Not something I'd listen to often, but it is great! 4/5

Obviously excluding all of the introductions and the national anthem, the album isn't the worst. Jazz instrumentals always make for good background music. If that trumpet wasn't so overbearing at times, I would have enjoyed it more. 3.5/10

I’m sure Duke Ellington paved the way for jazz music. However, this “album” is half of them speaking and the other half is live performances where I can’t hear any other instruments other than this🎺 If it was 1950 and I had some ❄️ with a broad on my shoulder drinking an old fashioned, this would be a 10/10. Instead it’s a 2/10 especially for it staring with the star spangled banner.

Boring. I don't like jazz

Big Band at it's best.

Wow. I’ve listened to this several times. Despite my previous review, and maybe my lack of culture, a lot of the jazz sounded quite similar, but even this you could feel the technical skill that went into it. It’s a live album and the crowd love it. My favourite is Diminuendo and Crescendo in Blue. The saxophonist plays a 27 chorus solo and the vibe through your makes your hair stand on end. I’ve always appreciated jazz but would never consider myself wise or knowledgeable. I couldn’t name any jazz tracks to even recommend someone however this album is a fantastic introduction and I’m glad I have heard it

If you want to listen to a recreation of the original LP, here's my Spotify playlist: https://open.spotify.com/playlist/2BJ4GsVltApj7S6pgIXQM2 Wort it to hear the sound of Paul Gonsalves exploding at the end of a 12-minute saxophone solo.

My dad, a fan of this performance, says “Diminuendo and Crescendo in Blue” is the one he returns to, the climax to Ellington’s popular story rather than his life, the gig where a chunk of the band don’t turn up to the first set, and the track written for the festival fails to rouse, only for the tenor saxophonist, blows a marathon into the wrong microphone, nearly incites a riot according to the papers, though this recordings indicates little more than a few encore demands and likely dancing. Reading the hype first, the solo almost disappoints, probably because I was expecting some sort of Coltrane-es que explosion rather than the fleet, chatty and upbeat hopping between notes that Gonsalves holds for six minutes, but once I accepted this is more an ocean liner than a power boat I had a good time, though maybe not as much as the blonde woman in a black dress that the accounts place unusual emphasis on. The squeals at the end of “Festival Junction” sound like a tantrum, either at the band’s structure or the perception of its obsolescence, its dead economic model: we can blast too. There’s defiance as well as melancholy in celebrating a near-extinct form, a collective in their late middle-age demonstrating their mastery of banging out tunes as one; the songs were old by then, and you can hear the sweat flicking off the drums. I’ll take my dad’s approach to this one.

If you really like Jazz this album is probably pretty awesome and I can see how it is musically technically impressive.

At Newport ‘56 My main thoughts of Duke Ellington are of his spirit living in the attic in Big Mouth writing songs full of sexual innuendo and trying to bang the ghost of Whitney Houston. Nothing like that is happening here though. This is a perfectly fine live big band/swing/jazz album with two stand outs. The smoky, piano-led Blues to Be There is great, the horns are used to augment it brilliantly and it genuinely feels like it tells a musical story. And the frenzied energy of Diminuendo and Crescendo in Blue is undeniable, you can really feel the feedback loop of the players and the crowd and the resulting manic excitement. Generally I’m not a fan of this sort of uptempo Jazz, but this performance feels genuinely electric and you can’t help but be carried along on a wave of jazzy commotion. Jeep’s Blues is probably the best of the rest, with Festival Junction and Newport Up being fine but forgettable. Outside Blues to Be There and Diminuendo there probably isn’t a great deal to return to, but those two and Diminuendo in particular are so good they carry it to a medium-high 3. 🔵🔵🔵 Playlist submission: Diminuendo and Crescendo in Blue

Not quite my tempo… unfortunately an all around snooze fest. I can appreciate what he may have done for the genre but me listening to it today was tough to get through. INCREDIBLE background music tho. 3/10 My Top Track: Take the “A” Train

Not sure if it was the music, the audience, the host, the production value or a combination of all - but I found this incredibly irritating and I could hardly get through it. No doubt the musicians are extremely talented, and if you're into jazz/swing this would probably be amazing. I found it too long, grating and frustrating to listen to. I might feel differently if I was there in person, and I can enjoy this style of music - but the album actually mad me feel angry to listen to.

Self indulgent wiffle-waffle. I thought jazz was all about improv and doing something different, yet this all sounded the same to my untrained ear. 1 star, just to annoy jazz wankers.

Very very good

tolles album welches ich tagelang hören könnte!

Grossartiger Jazz welcher einem mitnimmt. Und die Aufnahme setzt einem mitten in die Band, so geht live.

Amazing. Just Amazing. Great music. Great Melodies. Great performance. Six out of 5 stars.

Old school cool. Great stuff.

I read in wiki how this concert revived Duke Ellington's career, having a huge impact in the later stage of his life. But how does one connect to an album of a performance from nearly 75 years ago? I think of Big Band music as belonging to my parents' generation--born in the 30's, growing up in the 40's. Yet this sound influenced so many future genres, I can't help but appreciate the talent and skill. My first drum teacher was a Big Band drummer and I was awed by Louie Bellson when I saw him play when I was in high school. Many of my favorite rock drummers learned to play jazz swing style and adapted those skills to rock n roll. Listening to this orchestra, with some of the best talent, you can't help but feel the sound, visualize the moment. Ellington's signature Take the A Train is polished from 20 years of performance experience. I love the swish of the hi-hat in Blues to Be There, the upbeat solos in Newport Up, the bending of notes and moodiness of the saxes in Sophisticated Lady, I Got It Bad and Jeep's Blues. The energy and creativeness of Diminuendo in Blue caps it all off. I listened to both versions of this album, the first which was modified with recordings in studio, and the newer one that was a cleaned up version of the live tapes. I suggest both are worth a listen to get why a 75-year old concert still has impact.

In 2022, this album was selected by the Library of Congress for preservation in the United States National Recording Registry as being "culturally, historically, or aesthetically significant". There's a reason for that. It's not just the historical significance, it's just THAT. DAMN. GOOD. The only thing I wished was that there was more (and fortunately, there is! Check out the complete concert, also on Spotify. There were one or two points where I thought they may be a bit over the top; but maybe the mikes were not picking it all up. Regardless, some great jazz here. A definite one to listen to again.

Absolutely incredible performances, even though most of it was a studio performance with crowd noises dubbed in. But I truly dig this kind of swing. 9.8 ★★★★½

JAZZ!! FINALLY!! HOOOOOOOLY CHRIST MAN! What a fucking tour de force of the genre, and of music as a whole. It really adds a lot to the listening experience to know what was going on in Duke's mind as the concert rolled on -- missing band members for the opening set, a complex 3-part suite that completely flopped, and then ONE extraordinary solo that got the crowd (and the world) to recognize his place in the industry once again. I kind of thought this would be a long listen, but it wasn't at all -- just like attending a really fantastic jazz concert. (I should mention that I didn't listen to the strange additional studio recordings...seemed kind of unnecessary.) Duke Ellington was a master composer, the band was full of master players, and damn it -- I love jazz. Five out of five. Probably the best album I've listened to so far. Side note: most people (rightfully) bring a lot of attention to Paul Gonsalves' stratospheric solo, but honestly all of the improv across the entire album is exceptional. Fave songs: The whole concert. Everything. Literally can't pick.

Sounds great, love the breaks with the introductions and the audience noise.

Great!

Technically brilliant Jazz album, but live audience and cuts to introductions can get distracting and break the immersion. -mitona The perfect soundtrack to kick off the day, what a treat! An unexpected favorite. -SC

## Ellington at Newport: The Night Jazz Reignited - An In-Depth Review Duke Ellington's **"Ellington at Newport" (1956)** is far more than a live album; it's a seismic event in jazz history, capturing a career-defining performance that resurrected the maestro's waning fortunes and delivered one of the most electrifying documents of big band energy ever committed to tape. Recorded on July 7, 1956, at the Newport Jazz Festival, this album showcases the Ellington orchestra at its most vital, proving the enduring power of swing in the face of bebop's dominance. ### 📜 1. Lyricism: Vocals as Textural Accents (Not the Focus) While primarily instrumental, the album features strategic vocal performances enhancing its narrative texture: * **Ray Nance's Charm:** His playful, conversational delivery on "Tulip or Turnip" ("Call me a flower if you wanna / But I'm the one what needs ya") adds humorous character . * **Jimmy Grissom's Blues Lament:** On "Day In, Day Out," Grissom embodies classic blues yearning, his phrasing and tone blending seamlessly with the band's sophisticated backdrop, providing emotional counterpoint to the instrumentals . * **Instrumental Vocality:** The true "lyricism" lies in the horns. Johnny Hodges' alto sax on "Jeep's Blues" or Paul Gonsalves' tenor speak volumes with bends, smears, and cries, conveying joy, melancholy, and unrestrained passion far beyond words . ### 🎷 2. Music & Performance: The Engine of Resurrection This is where the album achieves legendary status. The Ellington orchestra was in a slump pre-Newport, facing dwindling audiences. The Newport set, fueled by a charged atmosphere, became a defiant masterpiece. * **The Gonsalves Solo Heard 'Round the World:** The undisputed climax is Paul Gonsalves' **27-chorus tenor saxophone solo** bridging "Diminuendo in Blue" and "Crescendo in Blue." Abandoning written charts, Gonsalves unleashed an improvisation of astonishing stamina, melodic invention, and building intensity, directly feeding off drummer Sam Woodyard, Jo Jones' off-stage newspaper tapping, and the band/audience's escalating frenzy . This solo, pure spontaneous combustion, ignited the crowd and revitalized Ellington's career. * **Individual Brilliance:** Beyond Gonsalves: * **Johnny Hodges:** His achingly beautiful, sensual alto on "Jeep's Blues" ("silky slippery" ) and "I Got It Bad" is a masterclass in expressive phrasing and tonal control. * **The Trumpet Section:** Cat Anderson's soaring high notes, Clark Terry's melodic flair, and Ray Nance's versatility (trumpet, violin, vocals) provide constant fireworks . * **Sam Woodyard:** His propulsive, driving swing ("Skin Deep" features a masterful drum solo ) is the bedrock, especially crucial during Gonsalves' marathon. * **The Newport Suite:** Written specifically for the festival ("Festival Junction," "Blues to Be There," "Newport Up"), it showcases Ellington/Strayhorn's compositional genius – intricate yet loose, allowing dynamic solo space across the orchestra while maintaining sophisticated ensemble interplay . * **Energy & Interaction:** You *feel* the live wire. Duke's piano comping and calls of encouragement ("Come on, Paul!"), the band's responsive energy, and the audience's transformation from polite appreciation to near-riotous euphoria are palpable, especially on the complete recordings . *Table: Key Musical Highlights* | **Track** | **Musical Significance** | **Featured Soloists/Features** | |-----------|--------------------------|--------------------------------| | **Diminuendo and Crescendo in Blue** | Historic 27-chorus sax solo, concert climax | Paul Gonsalves (tenor sax), Duke Ellington (piano cues), audience reaction | | **Jeep's Blues** | Alto sax showcase, blues mastery | Johnny Hodges (alto sax), tight band interplay | | **Newport Jazz Festival Suite** | Original composition for the event | Jimmy Hamilton (clarinet), Willie Cook (trumpet), Paul Gonsalves (tenor), varied solos | | **Skin Deep** | Drum feature, crowd-pleasing finale | Sam Woodyard (drums), explosive band sections | | **Take the 'A' Train** | Strayhorn classic, dynamic arrangement | Duke Ellington (piano intro), full band power | ### 🎚️ 3. Production: A Complex Legacy of Deception and Revelation The production history is infamous and crucial to understanding the album's impact: * **The Original 1956 LP (Flawed Triumph):** Due to perceived technical issues (balance, Hodges' flubs on "I Got It Bad"), Columbia, with Ellington's agreement, re-recorded significant portions ("Newport Suite," "I Got It Bad," "Jeep's Blues") in the studio days later. Canned applause, reverb, and fake announcements were added to mimic Newport . This hybrid version was the one that initially wowed the world. * **The 1999 "Complete" Revelation:** Producer Phil Schaap synchronized Columbia's tapes with recently discovered Voice of America recordings. This yielded the *true* live concert in vastly improved fidelity (though technically "spatially separated mono"), including previously omitted gems like the "Star Spangled Banner," "Black and Tan Fantasy," "Tea for Two," and the unvarnished live takes . Hearing Gonsalves' solo *with* the authentic crowd noise and band shouts is transformative . * **Sound Quality:** Even the "Complete" edition reflects 1956 live recording limitations. Balance isn't perfect (Gonsalves was partly off-mic originally ), and fidelity isn't modern. However, the energy and presence are undeniable. Criticisms of poor digital remastering on some platforms exist . ### 🎭 4. Themes: Revival, Resilience, and Collective Joy The album transcends mere performance, embodying powerful themes: * **Career Resurrection:** Newport 1956 is synonymous with Ellington's dramatic comeback. The band, playing smaller gigs beforehand, delivered a performance so potent it catapulted them back to global prominence. Ellington later quipped he was "born at Newport in 1956" . * **The Power of the Live Moment:** It captures the irreplaceable magic of live performance – the risk, the interaction (band-to-band, band-to-audience), the shared energy building to euphoria, particularly during Gonsalves' solo . * **Endurance of the Big Band:** In the era of bebop and small groups, Ellington proved the large orchestra remained a vital, thrilling, and sophisticated vehicle for jazz expression and improvisation . * **Artistic Resilience:** Defying decline, Ellington and his uniquely voiced soloists demonstrated unwavering mastery and passion for their craft . ### 📣 5. Influence: A Lasting Jazz Monument The album's impact is undeniable: * **Revitalized Ellington:** Launched the most successful period of Ellington's later career, leading to renewed contracts, tours, and ambitious works . * **Live Album Benchmark:** Set a new standard for the excitement and historical importance a live jazz recording could capture. Its success (even the doctored version) proved the commercial and artistic viability of live albums . * **Gonsalves' Legacy:** While typecasting him somewhat, the solo became *the* defining moment of his career and a legendary example of extended, audience-rousing improvisation, arguably influencing the development of long-form solos in jazz (even cited as a possible precursor to Coltrane's explorations ). * **Cultural Artifact:** Recognized for its cultural, historical, and aesthetic significance, it was inducted into the **National Recording Registry** in 2022 . It remains a cornerstone of jazz history courses and collections. ### ⚖️ 6. Pros and Cons * **Pros:** * **Historic, Electrifying Performances:** Features some of the most iconic moments in jazz history (Gonsalves' solo, Hodges' blues) played with incredible energy and skill . * **Band Chemistry:** Showcases the unique voices within the Ellington orchestra and their unparalleled cohesion . * **Unmatched Live Atmosphere:** Captures the transformative power of a legendary live event, especially on the "Complete" edition . * **Historical Significance:** Documented a pivotal career revival and remains a landmark live album . * **Repertoire Strength:** Excellent selection spanning blues, suites, standards, and fiery extended workouts . * **Cons:** * **Original LP's Deception:** The studio overdubs and fake applause significantly misrepresented the actual event . *(Mitigated by the "Complete" edition)* * **Length & Pacing (Complete):** At over 2 hours including announcements, it can feel sprawling for some listeners; the original LP was more focused but incomplete . * **Sound Fidelity:** Despite improvements, the 1956 recording technology has limitations. Balance isn't perfect, and some distortion or murkiness is present . * **Vocal Tracks:** While characterful, "Tulip or Turnip" and "Day In, Day Out" aren't the album's strongest musical moments for some listeners. ### 🎯 Final Verdict **"Ellington at Newport" (specifically the "Complete" edition) is an indispensable masterpiece of jazz.** While the original LP's production deception is a historical blemish, the *music* captured that night – particularly the unvarnished live power now available – is simply transcendent. It showcases Duke Ellington not as a relic, but as a vital, innovative leader directing one of history's greatest orchestras at a white-hot peak moment. The sheer energy, historical weight, and musical brilliance (epitomized by Gonsalves' epochal solo) make its flaws, primarily related to era-specific recording tech, easy to overlook. It's not just a great jazz album; it's a thrilling piece of cultural history that continues to resonate powerfully. **Essential listening.**

Outstanding set late in Duke's career. He's still got that swing, that pizazz, that jazz. Everything that made him the GOAT of this era is capture on this two disc masterclass. Live a Newport is an important standard for all Duke heads and an iconic festival for connoisseurs. Though watered down by 2025 with comedy, pop acts and rock bands. Newport used to be Jazz summer camp, and here we have camp counselor Duke and his All Star troop taking us along for 8 weeks worth of hiking, canoeing, campfires, watersides and zip lining. If you catch the metaphor, its a long dissemination of his entire career compiled into one set. Ya dig?

Might make this my new personality

😎

😍

An American treasure

Phenomenal! The Duke was my entry point into jazz as a teenager and I still have a great deal of love and respect for his music. Willingly (and happily) listened to the 2+ hour complete version of this album.

10/10 bc it made me appreciate jazz as a live performance. I think it’s the most unique way to perform music, because there is a lot of interaction between the public, the musician and the music.

I wish it didn’t have all of the banter but it lets you feel like what it was to be there.

Exceptional. And anyone reading this who hasn't made it to a Newport Jazz Festival, if this is your thing, definitely go.

Duke Ellington, Ladys and Gentleman, Duke Ellington! Man kriegt schon geil den Vibe vom Konzert mit

Escuchando “Ellington at Newport” me he sentido como si estuviera dentro de una película cenando en un restaurante de lujo, disfrutando de un deleite musical en directo. Ha sido un viaje musical de vientos y percusiones que me han hecho conectar por primera vez con el jazz a la perfección. El hecho de escuchar el feedback del público aplaudiendo y elogiando la música de Duke Ellinton en directo, aporta al álbum un realismo y una riqueza muy destacables en la hora y seis minutos de música jazz que nos presenta este álbum. Sin lugar a dudas, el punto fuerte del álbum no puede ser otro que “Diminuendo and Crescendo in Blue” una delicia de instrumental jazz que a pesar de su duración de más de 13 minutos, me ha mantenido enganchado y disfrutando la pista todos y cada uno de ellos. Esta es una de las grabaciones en una en las que el público es un elemento clave, se convierte en un músico más, aporta con sus aplausos y reacciones un punto extra a la canción y a los músicos. Se percibe como la reacción de los asistentes les anima a seguir tocando con más ganas si cabe. También merece ser mencionada la importancia de los percusionistas y bateristas que enriquecen cada pista. Sostienen el ritmo de toda la actuación en directo y mantienen al público vivo y sintiendo el arte de la música en directo “Skin Deep” es la prueba más contundente de ello, que cierra el álbum en directo por todo lo alto. “Ellington at Newport” es un álbum majestuoso de jazz perfecto para escuchar en una cena íntima, en un momento de desconexión y simplemente disfrutar de esta joya del género.

Love this.

Wow. Not sure what I expected but this is great.

C,mon, man, it's Duke Ellington, what do you think I'm gonna say?

👍

Magnificent.

Not really my kind of music, but he is a fantastic musician - a milestone

5/5. I listened to the complete sessions of this album and it was definitely the correct choice. Up to the last main concert track, not the repeated songs later. The crowd gets more riled up as the songs go on and it culminates in an almost riot. This must have been a wild atmosphere because the jazz is good but there might have been something else going on in the audience. Either way, this was fantastic and a testament to the jazz genre. Excellent musicianship and energy from the band, these arrangements are complex yet accessible. Duke is a genius and this is a must listen for anyone who has the time. Best Song: Diminuendo and Crescendo In Blue, Black And Tan Fantasy, Blues To Be There

such a long album, but such an awesome concert. again, i’m so weak for live recordings, but the music and the air just feels soooo alive and i absolutely love duke!!

Man I wish I could have been there! This rules!

Decided to listen to the original album - which is 38 mins - and found this on Spotify. Really impressive performance and captures the raw energy of the big band.

Wonderful. Seems like a product of time gone by (which it is). I loved the transition from Skin Deep into the crowd almost rioting - talk about something that would never happen in 2025. Blues to Be There is my favorite track.

This song reminds me of something you would hear in like a nice Italian resturant. I rate this song a 10/10.

I rate Jeeps Blues a 5 star because its like jazz and I really like jazz and the saxophone is good all the instruments are good ⭐⭐⭐⭐⭐. I rate Take The "A" Train a 5 star because its like jazz and I really like jazz and the saxophone is good all the instruments are good⭐⭐⭐⭐⭐. I rate Saffiicated Ladie a 5 star because its like jazz and I really like jazz and the saxophone is good all the instruments are good⭐⭐⭐⭐⭐.

It's Duke Ellington. Ya gotta respect it.

This album almost makes up for the stunning lack of important Jazz on this list. 5/5

I'm generally much more a fan of more stripped down jazz than big band stuff, but this album is just undeniably phenomenal. This is one I absolutely need to get.

Si alguien hiciera la lista super oficial con todos los discos de la historia y éste quedara en primer lugar, no tendría peros. Así de bueno es.

"Diminuendo in Blue" is amazing. The solo is unbelievable.

97/1089 - Amazing soloists. Cool harmonies. Crowd was loving it. A fun live album to listen to.

This is so my speed

What an igniting performance! If you don't like this, you don't like jazz.

Stunning “live” performance from Duke Ellington and his band. Textbook definition of what a jazz recording should be.

Fantastic album, absolutely love jazz if I don’t listen to it all the time. Duke Ellington is really really good, his group is so tight. It’s a bit long at two hours and 11 minutes, with a lot of those filler talking in between, but I think it was important for me to listen to this.

I found this to be insanely good. The craft and musicianship at display here is incredible and the energy that seeps out of this thing is insane. This is the kind of surprise that I do this challenge for.

good

Great

Live album. Jazz. 10/10

Hit a pr while listening. Goated jazz.

Festival Junction- fun, high-spirited introduction Blues to Be There- the trumpet player with the mute is the hero- don't love the end, which sounds like something from a 50s sitcom Newport Up- clarinet and trumpet solos to open Jeep's Blues Diminuendo and Crescendo in Blue- feels like a goshdarned juke joint, which is strange, because that wasn't Ellington's thing- he led the classics, most talented Orchestra in the world

Genuinely, this album has to be one reason headphones, an easy chair, and gin was created. Never listened to his particular album before but it will be staying on regular rotation now. Stunningly talented musicianship with the leadership of Duke.

I was super productive while listening to this album. I appreciated the speaking in between the songs, made me feel like I was there!

Not super into jazz, but this had my ass locked in the whole commute home. And loved that little easter egg of young Quincy Jones being mentioned

Always great to hear old school jazz when it was the best music. Instrumental which Ibusually dont lime but thos genere is absolutely beautiful. This album has no bad songs all are great

Brilliant

Soul

That album is a masterpiece!

- Sensational. Vibrant. Enduring. Possibly the best swing jazz I have ever heard. I had to turn this off while I was working because I found myself wanting to dance too much. - Some of the out-of-control solos at the end of "Festival Junction" and "Diminuendo In Blue" light you on fire. - First album on the list where I listened to the original LP and found myself actually wanting to listen to the extended album.

Hell yeah, this is a triumph. Though I could do without Father Snorman and his damn announcements. A very impressive display of technical talent in that classic big band jazz style. A very nice thing. Diminuendo In Blue kicks ass. Solid drum solo on Skin Deep and the crowd goes nuts. What a killer album and story.

Words can’t express the joy of listening to this historical recording. The “Duke” is simply incredible and had assembled an amazing group of musicians.

Top notch. The concert showcases all the members of the band. Big boisterous arrangements, classy piano playing, tons of horns and solos. Superb.

Big band jazz når den är som bäst. Kanske ska börja titulera mig jazz man 🤭

Man what would it have been like to be there for this live. Love the sax vibrato, almost sounds like a different instrument

This was lots of fun for sure.

Video games introduced me to jazz and swing music, which led to me learning about the history of jazz and even though i hadn't heard the album i was well aware of the festival. It is part of music history and jazz history. in a time where jazz were shifting allot. A well earned spot on the list It is a bit long but it's enjoyable and pretty easy listened.

This album is so cool it doesn't need air conditioning in the summer. 5/5

Super cool. One of the best jazz albums I've listened to. 5/5

Duke's a persuasive composer; there's a preternatural uplift that all of his compositions share, a surety, a swagger, a candid sense of self and others. Nothing breaks down b/c everything's a great run into the center of life and its particularities. This live recording famously attains that sensibility with genius. Quite literally, Duke and Louis (who's unforgivably absent from this list) invented our music. And a special shout-out to Cat Anderson, the best of all muted trumpeters I've heard. Sam Woodyard too on ‘Skin Deep.’

watch video of the band. hep af.

<3 star spangled banner- 6 black and tan fantasy- 8 or 9 tea for two- 8 or 9 take the a train- 8 or 9 festival junction- 8 or 9 blues to be there- 8 newport up- 9 sophisticated lady- 7 day in day out- 7 diminuendo in blue- 8 or 9 i cant finish this because my attention span is rotted but jazz is one of the best things mankind ever came up with

Eso es musica, además virtuosismo de gran nivel. La pena es que es en vivo y se pierde gran rango de calidad que la grabación en estudio. Pese a esta perdida, Ellington y sus eximios instrumentistas brillan y enceguecen.

Big band perfection. Swings hard and everything is in its right place. Grabbing the spotlight when needed and sitting in the pocket when not. Puts you right in the heat of it

Fantástico álbum, tanto musicalmente como por la historia que hay detrás. En primer lugar, encuentra el punto exacto entre swing y jazz (aka big band jazz), lo que me transporta varios años atrás, cuando escuchaba a Louis Prima, pero con un toque adicional de sofisticación. Por otro lado, me encanta poder escuchar la reacción del público de la época, una auténtica locura. Por este motivo, la versión en CD de 1999, que es más fiel al concierto, me gusta mucho más que la versión de semi-estudio original. Cinco estrellas que confirman que me estoy haciendo mayor.